Introduction/Overview

A person attempting to develop a collection of tango music faces two challenges:
knowing which recordings are likely to be suitable for social dancing and
finding a place to buy them. Most of the tango recordings available in
U.S. music stores are not well suited for social dancing. Mail ordering
is often the best option.

In starting our collection of tango music for social dancing, we found
the Tango Montreal
website to be helpful. Classics
of Tango Dance Music and Mike Lavocah's recommendations at milonga.co.uk
are other useful resources. We also ask the DJs at milongas and practicas
what they are playing when we hear something we particularly like. Our
final guide has been our own ears, sense of rhythm, and the improving availability
of recordings.

A purchaser can improve the odds of finding good dance music by watching
for the four big names in tango social dance music: Juan D' Arienzo, Carlos
Di Sarli, Osvaldo Pugliese, and Anibal Troilo. Their orchestras were
among
the most popular during the golden age of tango, and their music is still
prominently featured at milongas in Buenos Aires. A number of other
orchestras from the golden age of tango—particularly those led by of Rodolfo
Biagi, Miguel Caló, Francisco Canaro, Angel D' Agostino, Alfredo
De Angelis, Pedro Laurenz, and Ricardo Tanturi—also produced music that
is excellent for social dancing, and their music is still played at milongas
in Buenos Aires. The EMI Reliquias and Tango Argentino labels contain
many of the best tangos recorded by the great orchestras of the golden
age.

Some of the orchestras from the old guard that held sway prior to the
golden age, such as Orquesta Tipica Victor and those led by Julio De Caro,
Roberto Firpo, Osvaldo Fresedo, and Francisco Lomuto also produced excellent
social dance music, but the available recordings are generally of lower
fidelity. Orchestras playing new tango, such as those led by Astor
Piazzolla, Pablo Ziegler, and Juan-Jose Mosalini, typically recorded concert
music that most tango dancers consider unsuitable for social dancing.
Orchestras recording during the transition from the golden age to new tango,
such as those led José Basso, Carlos Garcia, Francini-Pontier, Alfredo
Gobbi, and Horacio Salgan, played arrangements that ranged from concert
music to social dance music.

There are a number of easy to find recordings that are probably best
avoided when starting a collection of tango recordings for social dancing.
Most prominent in this category are the recordings of Carlos Gardel and
Astor Piazzolla. Although recordings by these artists are widely
available and highly regarded for listening, they did not produce music
intended for social dance. Recordings for stage shows are also probably
best avoided. Although the music can be excellent and well recorded,
most of the music is played at tempos that are too fast for social dancing.

Where to Buy

Despite a growing number of releases over the past few years, distribution
remains limited, and availability is a constant issue in obtaining recordings
of Argentine tango music suitable for dancing. For purchases in the
United States, keep your eyes open and visit lots of compact disc stores
and be prepared to mail order. Barnes and Noble bookstores
occasionally have a few CDs of good tango music for social dancing—particularly
on the Blue Moon and El Bandoneon and Harlequin labels—along with extensive
stocks of tango music completely unsuitable for social dancing. Some
large local stores near universities also stock a fair number of tango
recordings, some of which may be suitable for social dancing.

Of the dealers in the United States, TangoCD.com
has the most extensive list of recordings. Zival's Tango
Store in Buenos Aires has the most extensive list of recordings and
ships promptly. Owing to the distance, Zival's shipping costs are
high and are best spread across a big order. In the United Kingdom,
Mike Lavocah's milonga.co.uk,
has an extensive list of available recordings. In Germany, Danza
y Movimiento has an extensive list of recordings.

Getting Started in Building a Collection

Most of the tango music used for social dance was recorded by the major
orchestras that played during the golden age of tango, which extended from
the late 1930s through the early 1950s. Each of the major orchestras
had a somewhat different sound. One of the key elements of successfully
building a collection is to obtain a core set of CDs that represents the
diversity of these great orchestras with CDs that have well-recorded music
that is suitable for dancing. When starting a collection of of tango
music for social dancing, our recommendation is to begin with the four
great orchestras of the golden age—D' Arienzo, Di Sarli, Troilo and Pugliese.
We also recommend expanding this collection with recording by some of the
other major orchestras of the golden age, particularly Caló, Tanturi,
DeAngelis, Laurenz and Biagi.

Recordings from other eras can be added later. The recordings of the
old guard, which recorded prior to the golden era, are important historically,
but the poor fidelity limits their usefulness for social dancing. Recordings
of new tango or from the transition to new tango are of better fidelity
than most recordings from the golden age, but most of the arrangements
are less suitable for social dancing.

A Basic Collection

For a basic collection, we recommend one or two CDs from each of the four
great orchestras. Taken together, the music of these four orchestras represent
a good sampling of the variety of sounds that characterized the golden
age. For Juan D' Arienzo, the best CD to begin with is El Esquinazo
1937-1938 in the RCA series 70 Años. Another excellent choice
is Instrumental Vol 1 on the Solo Tango label. Other possibilities
are
Sus Primeros Exitos vol. 1, or Sus Primeros Exitos vol. 2.
For Carlos Di Sarli, the best currently available CDs to begin with is
Instrumental
Vol. 1. on the Solo Tango label. Alternatives are
RCA Victor
100 Años or Instrumental on the Tango Argentino
label. For Anibal Troilo, the best CDs for a basic collection are
probably Instrumental, and Troilo/Fiorentino. Some
of the material found on these two CDs is available on Yo Soy El Tango
(RCA) at slightly better fidelity, but the set of tracks is not compelling.
Some of the best material from the two CDs are available on El Inmortal
Pichuco but at much lower fidelity. For Osvaldo Pugliese, the
best CD to begin a collection is Ausencia. If this Pugliese recording
proves too difficult to find, Instrumentales Inolvidables would
be a reasonable substitute.

Expanding the Basic Collection

To add depth to the basic collection, we recommend adding a few CDs by
some of the other highly regarded orchestras of the golden age, particularly
those led by Caló, DeAngelis, Laurenz, Biagi and Tanturi.
For Miguel Caló, the best CDs for a small collection are
Al Compás
del Corazon and
Yo Soy El Tango. For Alfredo De Angelis, the
best CD for a small collection is From Argentina to the World or
Adiós
Marinero. The former contains most De Angelis instrumental classics
and his two best valses. The latter contains four great valses in addition
to some excellent vocal tangos. For Pedro Laurenz, the CD Milonga a
Mis Amores contains excellent valses and milongas in addition to some
decent tangos. For Rodolfo Biagi, the best CD to expand a basic collection
is Sus Exitos con Falgas y Ibanez (EMI Reliquias) or the somewhat
lower fidelity Campo Afuera
(El Bandoneon). For Ricardo Tanturi's
Orchestra, the best choice would be with vocalist Alberto Castillo on the
Solo Tango label, Tanturi/Castillo. The other Tanturi/Castillo
CDs have similar tracks; the El Bandoneon CD has noticeably lower fidelity.
Another great addition to any collection is the Carlos Di Sarli orchestra
with vocalists Roberto Rufino, Sus Primeros Exitos vol. 1 or Jorge
Duran, Porteño y Bailarin.

A Basic Collection on a Budget

The two-CD compilation, Pa' Que Bailen Los Muchachos on the Blue
Moon label is an attractive alternative for someone who wants to start
on a smaller budget. This compilation contains social dance music played
by some of the major tango orchestras of the golden age. Many tracks are
the classics of tango. Most tracks are from the golden age, but some are
from the old guard, and some are from the transition to new tango.

Compilation — Pa' Que Bailen Los Muchachos (Blue Moon BMT
001/002)

Building a More Extensive Collection

For purposes of developing a more extensive collection of tango music,
we find useful to think of the music in a number of categories. Because
the recordings of the golden age that are suitable for social dancing are
so extensive, we categorize them as early golden age, harder rhythmic,
softer rhythmic, smooth, lyrical and dramatic. Including the tangos
of the old guard, transition era, new tango, modern tango orchestras, and
tango fusion, as well as milongas and valses we obtain 13 categories with
which to classify recordings. Each category has a different sound,
and numerous CDs are available in each category.

Style of Music

About the Style of Music

Orchestras

Old Guard

The tangos of the old guard generally had less complex arrangements
and simpler rhythms in comparison to tangos played during golden age and
later eras.

Orquesta Tipica Victor, Carabelli, Firpo, Lomuto, Fresedo, etc.

Early Golden Age

The tangos of the early golden age represent a transition from
the old guard to the golden age of tango. They have clear, simple
rhythms but show signs of the stronger orchestration and lyricism that
characterize golden age tangos.

De Caro, Donato, early Canaro

Golden Age Harder Rhythmic

Strong ric-tic rhythms characterize the harder rhythmic tangos.
For the tangos in this style that have vocals, the singer stays relatively
close to the orchestra's rhythm.

D' Arienzo, Biagi, Rodriguez

Golden Age Softer Rhythmic

Less pronounced ric-tic rhythms characterize the softer rhythmic tangos.
For the tangos in this style that have vocals, the singer stays relatively
close to the orchestra's rhythm.

A strong, slow walking beat and the near elimination of the ric-tic
rhythms characterize the smooth tangos.

most Di Sarli instrumentals, some Canaro instrumentals, some Fresedo
instrumentals, some Troilo instrumentals

Golden Age Lyrical

During the golden age, sometimes the singer sang with orchestra, sometimes
the orchestra played for the singer. When the orchestra played for
the singer, the result was a lyrical tango in which the singers often departs
from a close adherence to the orchestra's rhythm. The overall effect
is to emphasize the lyrical nature of the music

The tangos in this category have the most dramatic arrangements with
more rubato playing, greater dissonance, stronger climaxes, and (sometimes)
tempo shifts.

DeAngelis instrumentals, Pugliese

Transition Era

The tangos in this category were recorded during an era in which orchestras
were shifting from dance music to concert music, but have a few tracks
with sufficiently strong dance beat for social dance.

Sassone, Gobbi, Varela, Francini/Pontier, Garello

New Tango

Building on the work of Anibal Troilo, Osvaldo Pugliese and Horacio
Salgan, Astor Piazzolla led a revolution in concert-oriented tango music
in which drama was heightened through rubato playing, pauses, and tempo
changes. The combined effect works well for tango dance performances,
but can be outside the comfort zone for social dancing. For
social dancing, the most useful new-tango recordings combine some of Piazzolla's
sensibilities with a tango dance beat that is sufficiently strong for modern
ears.

Piazzolla, New York Tango Trio, Litto Nebia, Trio Pantango

Modern Dance Orquestas

Several modern tango orchestras have returned to the dance beat that
characterized the golden era of tango dance music. The recordings
made by modern dance orchestras typically have more intricate arrangements
with a little more of a dramatic concert feel than those made during the
golden era, but the dance beat is prominent and the fidelity is much better
than on the golden era recordings.

Color Tango, El Arranque, Sexteto Sur

Tango Fusion

Tango fusion integerates traditional tango rhythms and instrumentation
with other musical traditions, contemporary instruments and electronica
to create a modern and culturally relevant world tango music with a dance-club
sound.

Gotan Project, Bajofondo Tango Club, Carlos Libedinsky

Milongas

Milonga is a faster-paced dance music with a relentless driving rhythm
from which tango music developed.

Principal Elements of a More Extensive Collection

Our strategy for building an extensive collection of tango music for social
dancing is to rely principally on those CDs that contain many classics
and well represent the variety of tangos, milongas and valses from the
golden age. Selective additions of old guard and post golden-era
recordings, as well as CDs with a limited number of useful tracks round
out a more extensive collection.

Early Golden Age (For a discussion of the recordings see
Early
Golden Age below.)
Francisco Canaro
La Melodia de Nuestro
Adios (El Bandoneon) - some great tangos and valses
40 Grandes Exitos
(Las Grandes Orquestas del Tango Blue Moon) - some great milongas and valses
and some good tangos

Golden Age Dramatic Osvaldo Pugliese (For a discussion of the
recordings see Osvaldo Pugliese below.)
Ausencia (EMI
Odeon # 8 35886 2) - an outstanding collection with many of his best recordings
Instrumentales Inolvidables
(EMI Reliquias) - many classic Pugliese instrumentals that are not found
on Ausencia
Instrumentales Inolvidables,
Vol. 3 (EMI Reliquias) - great dramatic transition era music
From Argentina to the
World (EMI) - great dramatic transition era music
Alfredo DeAngelis (For a discussion of the
recordings see Alfredo De Angelis below.)
From Argentina to the
World (EMI) - includes many of his instrumental classics including
Pavadita
Instrumentales Inolvidables
(EMI Reliquias) - many of his instrumental classics including Pavadita
Adiós Marinero
(El Bandoneon) - includes several great valses

Transition Era (For a discussion of the recordings, see
Transition
to New Tango below.)
CDs with the music of transition-era orchestras typically only have
one or two tracks that we consider outstanding for social dancing.
A number of dancers like the music of Alfredo Gobbi and Florindo Sassone.
Others may consider the rhythms a bit complex or too indistinct.
Alfredo Gobbi
Instrumentales Inolvidables
(Tango Argentino) - this CD has a number of tracks that are considered
classics.
Florindo Sassone
Bien Milonguero Vol.
1 (EMI Reliquias) - more than several tracks on this CD are considered
classics.

New Tango (For a discussion of the recordings see New
Tango below.)
CDs with the music of orchestras playing new tango typically only have
a few tracks that we consider outstanding for social dancing. Consequently,
we have no specific recommendations in this category, even though we like
a number of the available recordings.

A Note on Fidelity

Fidelity is a major issue facing someone building a collection of tango
music for social dance. The recording technology during the golden
era was somewhat limited, and the quality of the restoration varies considerably
across labels. For most of the material, we generally rate the sound
quality on the major labels reissuing tango music from the golden age as
follows (starting with the best):

A Note on Changing Availability

Over the past ten years, the availability of recordings of Argentine tango
music for social dancing has generally improved as the number of tango
dancers has increased. Some CDs and labels have gone out of production,
only to be replaced by others. EMI sharply reduced its tango catalog.
The EMI Pampa, Music Hall and FM Tango labels discontinued production.
The Solo Tango label has released many of the CDs once available on the
FM Tango label. A few years ago The EMI Reliquias and Tango Argentino
labels picked up much of the slack by issuing material licensed from EMI
and RCA, respectively. More recently, RCA has been releasing
much of the material from its vaults in special collections with impressive
sound quality. The Lantower, Blue Moon and El Bandoneon labels also
contributed with growing catalogs of vintage recordings from the golden
age and earlier.

Some of the Better Recordings

Below are our descriptions and assessments of some of the better recordings
for social dancing. We concentrate on the classics of tango dance
music and other recordings that have caught our attention, making no attempt
to create a comprehensive listing of tango recordings. Information
is organized by style/epoch: Old Guard, Golden Age, Transition to New Tango,
New Tango, Neo-Tango and Compilations.

* indicates CDs listed in the basic and/or extended collection
½ indicates a half or less of the songs on each disc are
suitable for dancing.
¼ indicates a fourth or less of the songs on each disc
are suitable for dancing.

The Old Guard—Orquesta Tipica Victor, Carabelli,
Lomuto, Firpo, and Fresedo

After it achieved acceptability in Europe, tango dancing became a popular
social event among middle- and upper-class porteños (citizens of
Buenos Aires) during the 1920s and 1930s. Most of the music from the era
is relatively simple rhythmically, which makes it somewhat easier to hear
and learn the rhythm of the music.

Orquesta Tipica Victor was a studio orchestra led by Adolfo Carabelli
and made up of some of the finest tango musicians of the day. It was one
of the first old guard orchestras to adopt the 4x4 style of the golden
age of tango.

Roberto Firpo — De la Guardia Vieja (EMI Reliquias)
This CD contains a classic set of tracks in 2x4 rhythm along with several
valses.

Osvaldo Fresedo was an innovator who led one of the great tango
orchestras during from the 1920s into the 1950s. His playing bridged eras
from the old guard through the golden age and into the concert era.
His old guard sound presaged the early golden age, and many musicians
apprenticed in his orchestra. Unfortunately, the album most
representative of Fresedo's old guard instrumental sound, Tigre Viejo, is
not currently available on CD.

*Osvaldo Fresedo con Roberto Ray — Tangos de Salon (Tango Argentino)
A CD of incredible vocal music that is lyrical, softly romantic and
at the same time rhythmic. The tracks should be classified as old guard,
but they play as wonderfully lyrical.

Los Tubatango is a modern-era orchestra that plays in an old-guard
style. Their use of a tuba in place of the bass creates a unique
sound.

Los Tubatango — Una Noche de Garufa (Music Hall 10044-2)
The music on this CD has a steady beat that is a bit on the fast side.
For dancing, we like to play one or two on occasion, but most dancers do
not want to hear Los Tubatango regularly. (This novelty CD is discontinued,
but still may be available through some vendors.)

Orchestras of the Early Golden Age—Canaro, De Caro,
and Donato

The orchestras of the early golden age helped create a a transition from
the old guard to the golden age of tango. Their music has clear,
simple rhythms but show signs of the stronger orchestration and lyricism
that characterize golden age tangos.

Francisco Canaro had a career that spanned many decades, and
his orchestra was one of the most recorded. Much of his recorded
music is in the classic salon style of the 1940s, but he is also considered
a member of the old guard, and some of his later recordings contributed
to the transition to concert tango. For our tastes, his early golden
age recordings are the best. Some of his later recordings have a
glossy pop sound that quickly grows tiresome.

*Francisco Canaro — La Melodia de Nuestra Adios (El Bandoneon EBCD 30)
This CD contains older recordings of great music that has a slow, simple
and clear beat for dancing. It contains tangos that are among the
best for learning the walking rhythm of tango along with many valses.

*Francisco Canaro — 40 Grandes Exitos (Las Grandes Orquestas del
Tango Blue Moon)
This double CD contains many of classics from the early part of Canaro's
career, as well as a few from the golden age. Many tracks have a
slow, simple and clear beat.

Julio De Caro. Sometimes considered a member of the old
guard, Julio De Caro was an innovator who helped develop the 4x4 sound
prominent during the golden age of tango. His arranging inspired
Osvaldo Pugliese, Anibal Troilo and Astor Piazzolla. His recording
are of greater historical interest than they are for dancing.

Julio De Caro — Las Grandes Orquestas del Tango (Blue Moon 604)
This two CD set has many De Caro classics and is of much better fidelity
than some other De Caro recordings.

Edgardo Donato was an innovator that helped create the transition
to the golden age of tango.

The great orchestras of the golden age of tango produced most of the music
that is played for social dancing today.
During the golden age of
tango, the most popular orchestras were led by Juan D' Arienzo, Carlos
Di Sarli, Osvaldo Pugliese, and Anibal Troilo, and their music is still
prominently featured at milongas in Buenos Aires.
A number of other
great orchestras from the golden age of tango—like those led by of Rodolfo
Biagi, Miguel Caló, Francisco Canaro, Angel D' Agostino, Alfredo
De Angelis, Lucio Demare, Pedro Laurenz, Enrique Rodriquez, and Ricardo
Tanturi—also produced music that is excellent for social dancing, and their
music is still played at milongas in Buenos Aires.

Juan D' Arienzo was known as "El Rey
del Compas" (King of the Beat). Departing from other orchestras of
the golden age, D' Arienzo returned to the 2x4 feel that characterized
music of the old guard, but he used more modern arrangements and instrumentation.
His popular group produced hundreds of recordings. His music is played
often at milongas in Buenos Aires, and the instrumentals are the classic
harder rhythmic tangos with a strong staccato dance rhythm. He also
recorded many great milongas and fast valses. (For those interested
in developing an extensive collection of D' Arienzo's recordings, a large
catalog of RCA releases is now available as the 70 Años series.)

*Juan D' Arienzo — De Pura Cepa 1935-1936 (RCA 70 Años)
Many D' Arienzo's older classics are found on the first disc of the
best-sounding collection of his recordings.

*Juan D' Arienzo — El Esquinazo 1937-1938 (RCA 70 Años)
The best set of tracks on the best-sounding collection of D' Arienzo
recordings

Juan D' Arienzo — La Puñalada (Blue Moon 011)
This lower fidelity CD contains tracks from the early 1950s with slower
rhythms than is typical of D' Arienzo, and it is excellent for dancing.

Juan D' Arienzo — Cambalache (El Bandoneon EBCD 109)
Most of the tracks on this CD are great for dancing. About half
contain vocals by the great Alberto Echague. Some of the tracks with
Echague have a bit softer rhythm than is typical of D' Arienzo.

Juan D' Arienzo — Tangos Orilleros (Tango Argentino)
This CD features the vocals of Mario Bustos, who sang in a compelling
rhythmic style. Some people find the pairing a little too schmaltzy.

Juan D' Arienzo — Tangos Para El Mundo (Tango Argentino)
Imported from Argentina, this CD captures some of the D' Arienzo orchestra's
later recordings, after it shifted toward concert music. Many tracks
are suitable for dancing and fidelity is great. This CD contains
a great stereo recording of La Cumparsita.

Juan D' Arienzo — Tangos Para El Mundo, vol. 2 (Tango Argentino)
Imported from Argentina, this CD captures some of the D' Arienzo orchestra's
later recordings, after it shifted toward concert music. Many tracks
are suitable for dancing and fidelity is great. This CD contains
a great stereo recording of La Puñalada.

Orquesta Juan D' Arienzo — La Cumparsita (Phillips 832 799-2)
On this recent high-quality recording, the orchestra is led by a former
D' Arienzo side man. The orchestra plays in D' Arienzo's style but
takes many of the songs at a bit faster tempo. (likely discontinued)

Los Solistas de D' Arienzo — Lo Mejor de (Music Hall)
This CD contains a relatively recent set of recordings of classic tangos
played in D' Arienzo's style. The music does not have quite the playful
energy of authentic D' Arienzo recordings, but the recording is of much
higher fidelity. (discontinued)

Carlos Di Sarli developed smooth, clean-sounding,
powerful arrangements which his orchestra played the walking beat of salon
tango. His music is widely used by beginning dancers for practice and is
played with regularity in milongas. His instrumental numbers are the most
well known, but some of his recordings with vocalists are also among the
classics of lyrical tango. He also recorded interesting milongas
and valses. The first three CDs listed have similar track listings.

*Carlos Di Sarli — Solo Tango: Instrumental Vol.1 (Solo Tango)
Previously released as de FM Tango para Usted: Instrumental vol. 1,
this CD has a classic set of instrumental tracks with a slow, clear beat
for dancing. This is probably the best available CD of DiSarli's
instrumentals.

*Carlos Di Sarli — RCA Victor 100 Años
A mostly instrumental CD with a classic set of tracks that have a slow,
clear beat for dancing. The tracks have a very clear sound, but some
are recorded with decidedly bright sound that is quite apparent in high-quality
stereo equipment. The CDs Solo Tango: Instrumental Vol 1 and Lo Mejor
de Carlos Di Sarli have similar track listings.

*Carlos Di Sarli — Instrumental (Tango Argentino)
Originally recorded in the 1950s, some of the tracks on this CD have
too much reverb and processing, but the music is classic Di Sarli with
a slow, clear beat excellent for dancing. The CDs Solo Tango: Instrumental
Vol 1 and Lo Mejor de Carlos Di Sarli Milonguero Viejo have similar track
listings and much better sound quality.

*Carlos Di Sarli/Roberto Rufino — Sus Primeros Exitos Vol.1 (Tango
Argentino)
A well-recorded disc with an outstanding set of classic vocal tracks
that have wonderful lyrical quality and a slow, clear beat that is excellent
for dancing.

Carlos Di Sarli — Instrumental vol. 2 (Tango Argentino)
In the early 1940s, Di Sarli played in a much quicker soft rhythmic
style. Of the tango music he recorded in the early 1940s, this CD
contains 20 tracks that are regarded as among the best for social dancing.

Carlos Di Sarli — Bahia Blanca (Polydor)
This long discontinued CD contains 14 tracks from the 1958 Philips
session. The five instrumental tracks are considered classics: Bahia
Blanca, Champagne Tango, Indio Manso, El Abrojo and Una Fija. The
movie soundtrack for the Tango Lesson contains the 1958 version of Bahia
Blanca. The other four instrumental tracks are on the Susana Miller
CD #1.

Aníbal Troilo was the bandoneon player
who defined the instrument for his generation. His orchestra was
among the most preferred by social dancers during the golden age, but he
shifted to an intellectualized concert sound by the 1950s. The Troilo
orchestra is best known for its instrumentals, but it also recorded with
many vocalists. The Troilo orchestra recorded tangos with softer-rhythmic,
smooth, lyrical and transition era sounds. The softer-rhythmic instrumentals
and the recordings with vocalist Francisco Fiorentino are the most well
regarded for social dancing.

For those interested in developing an extensive collection of Troilo's
recordings, a catalog of 26 CDs is now available in the series Troilo en
RCA Victor. These releases have somewhat better fidelity than their
predecessors. Using the Troilo en RCA Victor catalog for coverage
of Troilo's dance classics requires purchasing more CDs. For instance,
the dance classics that are pulled together on Instrumental and the two
Troilo/Fiorentino CDs are spread out over the first five CDs of the Troilo
en RCA Victor series. The reward is a little bit better sound quality
and a more extensive collection of Troilo's music.

*Anibal Troilo — Instrumental (Tango Argentino)
This CD contains a classic set of instrumental tracks in the softer
rhythmic style from one of the great masters of the bandoneon.

*Anibal Troilo con Francisco Fiorentino—Troilo/Fiorentino (Solo Tango)
Francisco Fiorentino with the Anibal Troilo Orquesta is one of the
classic matches of singer with a tango orchestra. They recorded in
both a softer rhythmic style and a lyrical style. This CD is very
well recorded and contains many of the songs for which the pairing is known,
including the classic Malena.

*Anibal Troilo con Francisco Fiorentino—Troilo/Fiorentino vol. 2 (Solo
Tango)
More from this great pairing with a greater emphasis on the lyrical
sound.

*Anibal Troilo — Yo Soy El Tango (Troilo en RCA Victor)
This CD has some of Troilo's early classic instrumentals and some of
his more rhythmic recordings with the great singer Francisco Fiorentino.
This CD is a good introduction for someone who wants an introduction to
some of Troilo's early classics. It is also the first disc in the
26 disc series Troilo en RCA Victor.

Anibal Troilo—El Inmortal Pichuco (El Bandoneon EBCD 1)
This CD features excellent softer-rhythmic tangos with a clear beat
for dancing. It contains instrumentals and vocal tracks that are
among the most frequently played for social dancing in Buenos Aires.
Most of the tracks on this CD duplicate those found on either Instrumental
or Troilo/Fiorentino but with considerably lower fidelity.

Anibal Troilo—Quejas de Bandoneon (El Bandoneon EBCD 67)
This CD is one of many different Troilo CDs that are titled Quejas
de Bandoneon. It contains some classic smooth instrumentals that
are frequently played for social dancing in Buenos Aires. Most tracks
are marred by a muddy sound.

Anibal Troilo—Sus Ultimos Instrumentales (Tango Argentino)
This CD contains a classic set of instrumental tracks recorded during
the transition era by one of the great masters of the bandoneon.

Osvaldo Pugliese developed dramatic arrangements
that retained strong elements of the walking beat of salon tango but also
heralded the development of concert-style tango music. Some of his music
is used for theatrical dance performances. In Buenos Aires, Pugliese is
often played later in the evening when the dancers want to dance more slowly,
impressionistically and intimately. Pugliese is a great choice for slower
dance music, but the arrangements can be a bit more rhythmically challenging
than those played by other orchestras.

*Osvaldo Pugliese — Ausencia (EMI Odeon # 8 35886 2)
This CD contains so many classics from Pugliese's career that if we
could have only one CD of tango music, we would pick this one. It
also contains the wonderful vals Desde el Alma.

Osvaldo Pugliese — Instrumentales Inolvidables, Vol. 2 (EMI Reliquias)
A CD with more of Pugliese's dance instrumentals, but most tracks are
not quite as memorable as those found on volumes 1 and 3.

*Osvaldo Pugliese — Instrumentales Inolvidables, Vol. 3 (EMI Reliquias)
This CD contains Gallo Ciego, Pata Ancha and a number of other outstanding
instrumentals that the Pugliese orchestra recorded in its transition from
dance orchestra to concert orchestra. Many would be suitable for
late-evening dancing.

*Osvaldo Pugliese — From Argentina to the World (EMI)
This CD contains contains a number of instrumental tracks that the
Pugliese orchestra recorded in its transition to concert orchestra.
About half of the tangos are outstanding reperesentations of dramatic tango
music that challenges dancers. The others are better suited for listening.

Osvaldo Pugliese — De Caro por Pugliese (EMI Pampa)
This CD contains outstanding music without the throbbing beat and dramatic
pauses than is typifies much of Pugliese's work. Some casual listeners
might not recognize the recordings as Pugliese. (It would be a recommended
purchase if it had not been discontinued.)

Osvaldo Pugliese — Recuerdo (El Bandoneon EBCD 71)
This CD contains many well-regarded tracks, but most are of limited
fidelity.

Osvaldo Pugliese — La Yumba (Blue Moon BMT 10)
This CD contains some classic tracks from one of the great masters
of tango, but it is dominated by other offerings.

Osvaldo Pugliese — Coleccion (EMI)
Imported from Argentina, this CD contains many tracks excellent for
dancing, but it is dominated by other offerings.

Rodolfo Biagi was the pianist in Juan D'
Arienzo's orchestra during its most popular period and helped create the
rhythmic drive that characterized D' Arienzo's sound . Leading his
own orchestra, Biagi kept the harder rhythmic style and added striking
rhythmic elements to the music. Biagi's music is particularly popular
with those who dance the close-embrace styles of tango. Biagi also
recorded some of the very best valses.

*Rodolfo Biagi — Sus Exitos con Andres Falgas y Teofilo Ibanez (EMI
Reliquias)
This disc contains nearly all vocal music recorded with two of Biagi’s
great singers. It also contains the classic instrumental "Union Civica."

*Rodolfo Biagi — Sus Exitos con Alberto Amor (EMI Reliquias)
The tracks on this CD are all vocal music that show the more sensual
and romantic side of the Biagi orchestra. Includes the great vals
"Paloma."

*Rodolfo Biagi — Sus Exitos con Jorge Ortiz (EMI Reliquias)
This disc contains nearly all vocal music with some very popular tangos,
as well as an excellent instrumental vals, "Lagrimas y Sonrisas."

*Rodolfo Biagi — Sus Exitos con Jorge Ortiz vol 2. (EMI Reliquias)
This disc contains nearly all vocal music with some very popular tangos,
as well as an excellent instrumental tango, "Racing Club."

Rodolfo Biagi — Racing Club (EMI Pampa)
This CD is a classic, and would be the one Biagi CD to have if it were
not out of production and very difficult to find. (discontinued)

Miguel Caló led an orchestra that became
known as "the orchestra of the stars" because it was one of the best ensembles
of tango musicians ever assembled. Osmar Maderna, Domingo Federico, Enrique
Francini, and Armando Pontier all played together in the Caló orchestra
and then fanned out to form three new and respected tango orchestras.
Many experienced tango dancers love to dance to the music recorded by the
Caló orchestra because it played with a wonderfully romantic feel
without being too sweet while maintaining a good solid rhythm for dancing.
Dancers enjoy the instrumentals, as well as the vocal tracks sung by nearly
every singer who recorded with the orchestra. Caló recorded
many great valses and milongas, as well as tangos in the softer rhythmic
and lyrical styles. Watch for overlap between some of the listed
CDs.

*Miguel Caló — Al Compás del Corazon (EMI "Reliquias")
This disc contains tango music so unbelievably romantic, it seduces
both you and your dance partner. It also has an incredible vals and
two great milongas. All the tracks feature the great Raul Beron on
vocals. If we could have only two CDs of tango music, this would
be one of them.

*Miguel Caló — Yo Soy el Tango (El Bandoneon EBCD 34)
This CD contains tracks that have a simple and clear beat for dancing.
It is contains some classic vocals sung by the great Alberto Podestá
and is one of the best choices in tango music, as well as for learning
the walking rhythm of tango. The CD contains some great valses.

*Miguel Caló — y Su Orquesta de Estrellas (El Bandoneon
EBCD 92)
This disc contains some of Caló's best music, but it repeats
many tracks found on the EMI and EMI Reliquias discs, and with slightly
lower fidelity.

Miguel Caló y su Orquesta Típica — Stock Privado de la
Casa Odeon (EMI Odeon)
This disc contains some of Caló's better known instrumentals,
as well as some classic vocals tracks. (It seems to be discontinued
and is difficult to find.)

Miguel Caló — Sus Exitos con Raul Arrieta (EMI Reliquias)

Miguel Caló — 15 Exitos Grandes (EMI)
This disc features Alberto Podesta and Raul Beron on vocals.
(It seems to be discontinued and is difficult to find.)

Miguel Caló — And His Orchestra of the Stars, 1942-1950
(Harlequin)
This disc features many of the Caló Orchestra's most well-known
recordings, but the recording is of substantially lower fidelity than is
found on the EMI Reliquias discs.

Francisco Canaro had a career that spanned
many decades, and his orchestra was one of the most recorded. Much
of his recorded music is in the classic salon style of the 1940s, but he
is also considered a member of the old guard, and some of his later recordings
contributed to the transition to concert tango. For our tastes, his
early golden age recordings are the best. Some of his later recordings
have a glossy pop sound that quickly grows tiresome.

*Francisco Canaro — Desde el Alma (EMI Reliquias)
This CD has very good sound quality and some great material, but some
of the arrangements have a glossy pop sound. Includes the wonderful
vals "Desde el Alma" sung by Nelly Omar.

Francisco Canaro — Tangos Inolvidables del '40 (EMI Reliquias)
This CD has very good sound quality and a few good tangos and valses,
but most arrangements have a glossy pop sound.

Francisco Canaro y su Quinteto Pirincho — Nobleza de Arrabal (El
Bandoneon EBCD 90)
In addition to an orchestra, Canaro led a legendary quintet that had
a less full but very musical sound. This CD has a classic sound with
a walking beat great for dancing, but the tempo is a bit quicker than is
found on the Canaro orchestra recordings.

Angel D' Agostino is best known for
his recordings with singer Angel Vargas in the 1940s. Together they
recorded softer-rhythmic tango music with a playful magic that is still
loved by milongueros. All four of the CDs in the Tangos de Los
Angeles contain great tangos, but volumes 2 and 4 have the most recordings
that are considered classics.

Alfredo De Angelis was not considered
a great innovator of tango, but his arrangements created solid dance music
that has a feel between the smoothness of Di Sarli and the drama of Pugliese.
His valses are among the very best.

*Alfredo DeAngelis — From Argentina to the World (EMI)
This CD contains some classic tangos for dancing including the great
Pavadita.

*Alfredo DeAngelis — Adiós Marinero (El Bandoneon)
This CD contains four great DeAngelis valses with vocals, as well as
some great tangos.

Alfredo DeAngelis — Fumando Espero (EMI Reliquias)
This CD features singer Carlos Dante and has many solid, if unmemorable,
tracks for dancing.

Lucio Demare was a pianist with a unique
sound who led an orchestra during the golden age that was known for its
smooth rhythm and lyrical sound.

Lucio Demare — Sus Exitos con Raul Beron (EMI Reliquias)
A classic pairing of one of tango's greatest singers with an orchestra
that played well with singers.

Lucio Demare — Tango Guapo (El Bandoneon EBCD 081)
This CD contains a lovely version of the classic tango "Malena" and
several other classics.

Osvaldo Fresedo was an innovator who led
one of the great tango orchestras during from the 1920s into the 1950s.
His playing bridged eras from the old guard through the golden age and
into the concert era. Many musicians apprenticed in his orchestra.
His later music was smooth and lyrical.

*Osvaldo Fresedo con Roberto Ray — Tangos de Salon (Tango Argentino)
A CD of incredible vocal music that is lyrical, softly romantic and
at the same time rhythmic. The tracks should be classified as old guard,
but they play as wonderfully lyrical.

Pedro Laurenz was regarded as a great bandoneon
player, but his orchestra did not record much. His valses and milongas
are among the very best.

*Pedro Laurenz — Milonga de Mis Amores (El Bandoneon)
This CD contains excellent valses and milongas, as well as a number
of fairly good tangos with a 2x4 feel well suited for dancing in the close-embrace
style. The valses and milongas make this a must-have CD.

Enrique Rodriquez led an orchestra that
played with a harder rhythmic sound and featured the singer Armando Moreno.

Ricardo Tanturi led an orchestra that recorded
with two highly regarded singers that had very different styles, Alberto
Castillo and Enrique Campos. Although some debate which singer was better
with the orchestra, the choice is more dependent upon whether the moment
calls for the more softer rhythmic style of the great Castillo or the more
lyrical style of Campos. With either singer, the music is quite popular
for close-embrace or more open-embrace dancing. Tanturi and Castillo
also recorded some memorable milongas.

*Ricardo Tanturi con Alberto Castillo — Tanturi/Castillo (Solo Tango)
This CD captures some of the best worik that Tanturi and Castillo produced
together and with very good sound quality.

*Ricardo Tanturi con Alberto Castillo — El Tango es el Tango (Tango
Argentino)
This CD has many of the classic tangos recorded by Tanturi and Castillo.

*Ricardo Tanturi con Alberto Castillo — Tangos de mi Ciudad (Tango Argentino)
This CD has several classic tangos and milongas recorded by Tanturi
and Castillo.

*Ricardo Tanturi con Enrique Campos — Una Emoción (Tango Argentino)

Ricardo Tanturi con Enrique Campos — Encuentro (Tango Argentino)

Ricardo Tanturi con Alberto Castillo — Cuatro Compases (El Bandoneon
EBCD 48)
Most of the tracks on this CD duplicate those found on either Tangos
de mi Ciudad or El Tango es el Tango but with somewhat lower fidelity.

Ricardo Tanturi con Enrique Campos — Una Emoción (El Bandoneon
EBCD 081)
Most of the tracks on this CD duplicate those found on one of the Tango
Argentino releases, Encuentro or Una Emoción but with much lower
fidelity.

Transition to New Tango

At the end of the 1940s, tango orchestras began to shift from dance music
toward a concert sound. The Pugliese, Troilo and D' Arienzo orchestras
led the way. The following CDs feature the music of arranger/conductors
who followed the example set by Pugliese and produced recordings that retained
a dance beat but also developed the dramatic tension of concert tango that
became popular in the 1950s and 1960s. The music can be more challenging
for social dancing than that produced during the golden age or by early
dance era orchestras. We have not included the music played by the
orchestras led by Jose Basso, Mariano Mores, and Horacio Salgan because
we have found very little of it suitable for social dancing.
Those wanting to collect transition-era recordings to use for social dancing
may want to look at
A DJ's Guide to Post-Golden-Age
Recordings.

*Florindo Sassone — Bien Milonguero, Vols. 1 and 2 (EMI Reliquias)
Florindo Sassone was heavily influenced by his instructors, Roberto
Firpo and Osvaldo Fresedo. He also played in the DiSarli orchestra.
As a leader, his music combined the smooth rhythmic feel of DiSarli and
the lyrical sound of Fresedo with the fuller, stronger and more dramatic
ochestration that characterized the transistion era.

*Alfredo Gobbi — Instrumentales Inolvidables (Tango Argentino)
Much of the music recorded by the transition-era orchestra led by violinist
Alfredo Gobbi is poorly suited for social dancing. The music on this
CD is a real exception. It is similar in sound and feel to the golden
age smooth recordings of Carlos Di Sarli.

Hector Varela — Instrumentales (EMI Reliquias)
Hector Varela was the first bandoneonist in Juan D' Arienzo's orchestra
for many years. He later led a popular transition era orchestra that
retained elements of D' Arienzo's dance beat while taking on a spacious
concert sound somewhat reminiscent of Di Sarli.

Juan Cambareri — y su Quarteto 1952-1957 (Disco Latina)
Juan Cambareri was a virtuoso bandoneon player who played with Roberto
Firpo. His playing style had a very strong and unique vibrato and
he played very fast fills. He led his own formation in the early
1950s. This discontinued and now difficult to obtain CD from Japan
contains some well-regarded recordings, but some of the music is played
at a very fast tempo.

½ Carlos Garcia and Tango All Stars — Tango II (JVC)
This CD includes versions of several Piazzolla tangos that are suitable
for dancing. Everyone seems to love the versions of La Cumparsita
and Adios Nonino on this CD. (would be recommended if not discontinued)

½ Orquesta Francini/Pontier — Tango I (JVC)
Francini and Pontier both played with the Miguel Caló orchestra
before striking out together to form their own orchestra. In some
ways, their orchestra represents a continuation of the Caló sound
into the concert era—but with a much fuller concert orchestration instead
of a dance-band sound. This CD has many tangos suitable for dancing,
but the overblown orchestral arrangements can grow tiresome if played too
often. (would be recommended if not discontinued)

Francini/Pontier — A Los Amigos (El Bandoneon EBCD 28)
Although well-regarded for the music it contains, this CD does not
really appeal to us because the muddy sound detracts too greatly from the
arrangements.

New Tango

Astor Piazzolla led a revolution in tango by integrating jazz and classical
influences to create a concert form of tango. This style of tango is often
the first that audiences outside of Argentina hear, and that has led to
confusion among dancers and DJs. None of this music is considered suitable
for social dancing in Buenos Aires, and it is never played at milongas.
Theatrical dancers often use it for performances, and some is popular for
dancing outside of Buenos Aires. In addition to the late Astor Piazzolla,
Pablo Ziegler and Juan-Jose Mosalini are well known for their recordings
of new tango. Although new tango can be challenging for social dancing,
we find some new tango suitable for social dancing, and we list it below.
Those wanting to collect new tango recordings to use for social dancing
may want to look at A DJ's Guide to Post-Golden-Age
Recordings.

Litto Nebia Quinteto — Tangos Argentinos de Enrique Cadicamo (Iris
980)
In small doses, we enjoy this recording with guitar, bandoneon, piano,
bass and violin. The CD is very well recorded and generally has the slow,
clear beat most desirable for dancing. It was previously released in Argentina
as 12 Tangos Argentinos Para Bailar: La Musica Inedita de Enrique Cadicamo
(Melopea Discos CDMSE 5074). (likely discontinued)

¼ New York Tango Trio — Cabarute (Lyrichord 7428)
Some of the rhythm changes can be a bit tricky, and one or two numbers
get a bit manic toward the end, but we find the music great, and some of
it can be used for social dancing. (likely discontinued)

¼ Hugo Diaz (harmonica) — Hugo Diaz en Buenos Aires (Santuario
del Tango Victor Japan)
The sound of Hugo Diaz' harmonica rendition of Milonga Triste sets
the mood as the movie, The Tango Lesson, opens. His harmonica sound
combined with piano and guitar provides a real change of pace. The
rhythms on some tracks can be a bit challenging for social dancing, but
we find them wonderful for listening and occasionally for dancing.
(discontinued)

¼ Trio Hugo Diaz — Classic Tango Argentino (ARC EUCD
1327)
This CD features great playing on the bandoneon, guitar, and bass.
Several cuts can be used for social dancing. Some of the dance music has
a dreamy feel, which can be fun for a change of pace. On most tracks, the
rhythm changes are not suitable for social dancing. (not generally
available through usual tango music channels)

¼ Trio Pantango — Tango Argentino (ARC EUCD 1257)
This CD features solid playing on bandoneon, guitar, and bass. Some
of the music has a dreamy feel, which can be fun for a change of pace in
dancing. Sometimes the music just floats away. (not generally available
through usual tango music channels)

¼ Sexteto Mayor — Quejas de Bandoneon
This CD contains studio and live material. Most of the music
is better suited for stage dancing than social dancing.

½ Sexteto Mayor — Trottoirs de Buenos Aires
Most of the music is better suited for stage dancing than social dancing.

¼ Quinteto Francisco Canaro — Quinteto Francisco Canaro
(Melopea Discos)
Under the direction of Antonio Alessandro, this quintet plays classics
of tango in a modern style. Some of it is suitable for social dancing.
Most is not. (likely discontinued)

Modern Tango Orquestas

Some modern orchestras, most notably Color Tango, have returned to the
dance beat that characterized the golden era of tango dance music.
The recordings made by modern dance orchestras typically have a little
more of a dramatic concert feel than those made during the golden era,
but the dance beat is prominent and the fidelity is much better than on
the old recordings. Those wanting to collect recordings by modern
tango orchestras to use for social dancing, may want to look at A
DJ's Guide to Post-Golden-Age Recordings.

¼ Color Tango — Timeless Tango (EMI Odeon)
Founded by members of a later Pugliese orchestra, Color Tango plays
with the "La Yumba" beat that characterized much of Pugliese's dance music.
Recorded before tango dancing really underwent a revival, a few of the
tracks on this CD are suitable for social dancing. Most are not.
The CD may be discontinued on the EMI Odeon label, but it has been released
as Antologia de Tango Vol 2. (Mariposa).

*Color Tango — Con Estilo Para Bailar (Techno Disc)
This CD contains music that has the drama of Pugliese's concert style,
and yet most tracks can be used for social dancing. Many people feel
that Pugliese's own recordings dominate those found on this disc.

*Color Tango — Con Estilo Para Bailar, vol. 2 (Techno Disc)
If you love Pugliese but wish that his recordings of dance music were
recorded with more fidelity, this phenomenonal CD is for you. It
contains music that has the drama of Pugliese's concert style, and yet
most tracks are suitable for social dancing. Many people feel that Pugliese's
own recordings dominate those of Color Tango, but the glorious sound found
on this disc has much to recommend.

*Color Tango — Con Estilo Para Bailar, vol. 3 (private label)
This CD contains music that has the drama of Pugliese's concert style,
and yet most tracks are suitable for social dancing. Most of the
tracks are in the Pugliese style, but few duplicate classic Pugliese recordings.
The sound quality has much to recommend.

*El Arranque — Tango (Vaiven)
This CD contains several tracks that can work well for late-night dancing.

El Arranque — Clasicos (espa)
Given the title, it is surprising that the music on this CD is more
oriented toward jazz than dancing.

El Arranque — Cabulero (espa)
The music on this CD is not particularly well suited for social dance.

The Tango Camerata — Live at Stanford University (Rio Plata Institute)
Bandoneonist Dan Diaz conceived The Tango Camerata as a tango ensemble
using different musicians and instrumentation in various cities.
In this incarnation, The Tango Camerata is an ensemble comprising bandoneonist
Dan Diaz, guitarist Paul Binkley, and bassist Chris Coultier with the addition
of vocalist Roberto Forte on some tracks. The CD presents music recorded
in concert as well as at a milonga. The guitarist's rhythmic drive
contributes to a light but very danceable sound on most of the instrumentals.
The tracks with vocals are less suitable for dancing. Despite the
fact the recording was made live, the sound quality is excellent, and there
is no crowd noise. May be available from
The Rio Plata Institute.

Sexteto Sur — Libertango (Victor Japan VICP 60923)
This orchestra plays beautifully, and a few tracks on this CD can be
used for late-night dancing. (available in Japan only)

Neo-Tango Music

Neo-tango consists of two genres of music: tango-fusion and "alternative"
tango music. Tango fusion integerates traditional tango rhythms and
instrumentation with other musical traditions, contemporary instruments
and electronica to create a modern and culturally relevant world tango
music with a dance-club sound. Alternative tango music is tango music
from other traditions or non-tango music that some dancers find interesting
for dancing Argentine tango steps.

At its best, tango-fusion music combines traditional and electronic
instrumentation to bridge the gap between the golden-age recordings and
the 21st century. At its worst, tango-fusion music is just another
type of music to which people can execute tango steps. Tango-fusion
music is quite popular with tango dancers in Europe, North America and
Buenos Aires who are under 30 years of age. Older dancers steeped
in tango traditions often question whether it is tango music.

We list a few CDs with the most played tango-fusion recordings.

*Carlos Libedinsky — Narcotango
Of the available tango-fusion recordings, this one probably most closely
adheres to tango sensibilities. Less traditionally minded dancers
consider all the tracks suitable for social dancing.

*Gotan Project — La Revancha del Tango (discgraph)
This Argentine/French ensemble helped create tango-fusion music by
layering tango music with other dance rhythms. Once regarded as containing
the best tango-fusion music available, the CD was played frequently at
many milongas, and some dancers have grown tired of it. Less traditionally
minded dancers consider all the tracks suitable for social dancing.

*Bajofondo Tango Club (Universal Music)
This Argentine/Uruguayan ensemble plays dance-club music with a tango
rhythm. The combination does more to freshen the dance club sound
than it does to freshen tango. Less traditionally minded dancers
consider all the tracks suitable for social dancing.

Juan Carlos Caceres — Toca Tango (Discos CNR de Argentina)
Juan Carlos Caceres has a wonderful, deep singing voice and plays piano
with jazz voicings and a perfect rhythmic touch. He is recorded here
with a decidedly non-traditional ensemble, but little of the electronica
that is found on some neo tango recordings. The result is tango and
candombes that have overtones of cabaret, jazz, dance club and theatrical
music. The tangos are decidedly slow, but a few of them may be the
perfect change of pace late at night. Two of the candombes—"Tango
Negro" and "Toca Tango"—are absolutely stunning.

Compilations

Compilations are ways to get music from a variety of orchestras on a single
CD. Unfortunately for the lazy DJ, there is no commercially available
compilation that can be taken from the box and played straight through
for social dancing at a milonga. (Many privately produced compilations
are available on a limited basis. We do not list such compilations.)

*Compilation — Pa' Que Bailen Los Muchachos (Blue Moon BMT 001/002)
This two CD compilation contains social dance music played by some
of the major tango orchestras of the golden age. Many tracks are
the classics of tango. Most tracks are from the golden age, but some are
from the old guard, and some are from the transition to new tango.
The sound quality varies by the era in which the music was originally recorded.

*Compilation — Los 100 Mejores Tangos, Milongas y Valses del Milenio,
Vol. 3 (El Bandoneon 303)
This disc contains many great milongas along with a few others that
are not so great. It seems to be the best commercially available
compilation of milongas.

*Compilation — Los 100 Mejores Tangos, Milongas y Valses del Milenio,
Vol. 4 (El Bandoneon 304)
Among the best commercially available compilations of valses, this
disc contains many great valses along with a few others that are not so
great.

*Compilation — Valses Inolvidables (EMI Reliquias)
Among the best commercially available compilations of valses, this
disc contains many great valses, including some played by the Caló,
De Angelis and Biagi orchestras. This disc is the only commercial
source of the classic Biagi vals "Amor y Vals."

*Compilation — Valsecitos de Antes (Danza y Movimiento)
Great sound quality on a good collections of valses.

Compilation — Valsecito Amigo (Danza y Movimiento)
Great sound quality on an average collection of valses. A must
have for djs looking for the best sound quality.

Compilation — Milonga Vieja Milonga (Danza y Movimiento)
Great sound quality on an average collection of milongas. A must
have for djs looking for the best sound quality.

½ Compilation — The Tango Lesson (Movie Soundtrack) (Sony)
This CD contains a variety of excellent material, including Pugliese,
D' Arienzo and difficult to find Hugo Diaz harmonica. Nearly all the tangos
are excellent for social dancing. Half of the tracks are movie background
music or worse.

Compilation — The Assassination Tango (Movie Soundtrack) (RCA)
This CD contains ten tracks of tango music from the golden age including
that recorded by Gobbi, D' Agostino y Vargas, Di Sarli and Tanturi.
The sound quality is not particularly good.

Compilation — Great Bands of Tango's "Golden Age" 1936-47 (Harlequin
HQCD 89)
This CD contains some outstanding dance music from the old guard as
well as orchestras from the golden age, but some of it is relatively dull.
(Some copies of this CD are unplayable on some CD players.)

Compilation — Instrumental Tangos of the Golden Age (Harlequin
HQCD 45)
This CD is a nice compilation of older dance music representing both
the old guard and orchestras of the golden age. It has generally
good sound quality but some of tracks sound a bit muddy.

Compilation — Antologia del Tango (DMA 5014)
This CD contains all vocal music primarily from the golden age, but
also from a few transition era orchestras. (likely discontinued)

½ Compilation — Buenos Aires by Night (EMI)
This CD contains a wide variety of material. Some of it is excellent
for social dancing, including a Raul Garello recording of the Piazzolla
tango, "Verano Porteño." (likely discontinued)

½ Compilation — Grandes del Tango Instrumental (Music Hall 246553)
This CD is a decent compilation of music primarily from orchestras
that played during the transition to new tango. (discontinued)

½ Compilation — Grandes del Tango Instrumental, vol. 2
(Music Hall 236531)
This CD contains many classics of tango dance music from the golden
age and the transition era to new tango. A few tracks are clinkers.
(discontinued)

¼ Compilation — 16 Grande Tangos for Export (RCA)
This RCA compilation that was once widely available in the United States
(but may be discontinued) has only a few pieces that are enjoyable for
social dancing.. It does contain the same D' Arienzo recordings of
La Cumparsita and La Puñalada that are found on the D' Arienzo Para
El Mundo discs.

Recordings to Avoid

The vast majority of recordings used to dance Argentine tango socially
were made by the big name orchestras that recorded during the golden era.
Recordings of other orchestras, particularly those made during other eras,
are much less likely to be suitable for social dancing. Unfortunately,
the tango recordings that are most easily found in stores are not usually
the best for dancing Argentine tango socially. For the many tango
recordings we do not list above, critical listening before purchasing would
be wise. We also recommend being very careful about purchasing the
recordings listed below when starting a collection of tango recordings
for social dancing. They may be excellent for listening and may contain
a few gems for dancing that make them good additions to an extensive collection.

Recordings by Carlos Gardel
Although Carlitos is widely regarded as the greatest tango singer of
all time, his recordings were not intended for dancing, and some Argentines
consider it offensive to his memory to do so.

Recordings by Astor Piazzolla, Pablo Ziegler and Juan-Jose Mosalini
Recordings by these artists are widely available and highly regarded
for listening, but they did not record tango music with social dancing
in mind. When we first wrote this guide, we made a blanket recommendation
against the use of their recordings for social dancing, but those who dance
the nuevo and liquid styles of tango are beginning to use these recordings
for social dancing. Dancers of other social styles may dismiss such
dancing as largely theatrical.

Recordings from tango stage shows.
Although the music can be excellent, at best one to three tracks on
a CD are suitable for social dancing. Some recordings have no pieces suitable
for social dancing. Usually the tempos are much too fast. Some DJs who
mine obscure recordings may play an exceptional piece from a tango show
at a milonga, but these DJs are often drawing upon a much larger collection
of tango music than is described here.

Recordings of Ballroom Tango
Ballroom tango music is not generally accepted for dancing Argentine
tango, but it is typically found in the same bins at the store as Argentine
tango music. For tipoffs that the CD is likely to be ballroom tango
watch for cover art that suggests ballroom dancing and song titles listed
in English, such as Blue Tango, Hernando's Hideaway or Jealousy.
None of the online sources listed above in Where
to Buy carry ballroom tango music.

Tango Montreal Top 25

In early 1997, Tango Montreal conducted a survey of the top tango recordings,
and about 75 individuals responded. Although RCA, Solo Tango, EMI Reliquias,
Tango Argentino, Lantower, El Bandoneon and Blue Moon have released many
good tango CDs since the survey was conducted, it may remain a useful source
of information. Below are the dance titles rated in the top 25.